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Marion Leonard Lived: June 9, 1881 - January 9, 1956 Worked as: film actress, producer, screenwriter Worked In: United States by Sarah Delahousse It is well known that Florence Lawrence, the first “Biograph Girl,” was frustrated in her desire to exploit her fame by the company that did not, in those years, advertise their players’ names. Lawrence is thought to have been made the first motion picture star by an ingenious ploy on the part of IMP, the studio that hired her after she left the Biograph Company. But the emphasis on the “first star” eclipses the number of popular female players who vied for stardom and the publicity gambles they took to achieve it. Eileen Bowser has argued that Lawrence was “tied with” the “Vitagraph Girl,” Florence Turner, for the honorific, “first movie star” (1990, 112). In 1909, the year after Lawrence left Biograph, Marion Leonard replaced her as the “Biograph Girl.” At the end of 1911, Leonard would be part of the trend in which favorite players began to find ways to exploit their popularity, but she went further, establishing the first “star company,” according to Karen Mahar (62). Leonard had joined the Biograph Company in 1908 after leaving the Kalem Company, where she had briefly replaced Gene Gauntier as its leading lady. Her Kalem films no longer exist nor are they included in any published filmography, and few sources touch on her pre-Biograph career. Thus it is difficult to assess her total career. However, Marion Leonard was most likely a talented player as indicated by her rapid ascension to the larger and more prominent studio. At Biograph, she immediately began working with D. W. Griffith, who directed the vast majority of the films in which she appeared, including The Lonely Villa (1909), until her departure in 1910 to join the Reliance Company. A year later, Leonard left Reliance to form an independent enterprise, the Gem Motion Picture Company, with her husband, Biograph writer-director Stanner E. V. Taylor. While Karen Mahar is certain that this was a move designed to promote Leonard’s career, she is not sure that the star name brand company gave actresses any new responsibilities or powers, although she notes that the films produced in the star companies often featured strong heroine roles and Leonard was no exception to this rule (62). An example of the way Leonard was featured as a “star” just at the advent of stardom is an advertisement in the November 25 issue of Moving Picture World featuring a medium-sized photograph of her face circled by a diamond engagement ring. In an enthusiastic, signed letter addressed to her fans, she says that the Gem Motion Picture Company “captured” her heart: “People—I am engaged!” She assures her fans that the company will capture their hearts as well because Gem plans to produce “the bestest [sic] and brightest in pictorial art” (737). Leonard’s star vehicles for Gem featured her playing not only strong, but brave and honorable heroines. For instance, in The Defender of the Name (1912) she plays the brave sister of a Confederate soldier who commits suicide and fails to complete his spying mission in Union territory. To preserve her family’s honor, Leonard’s character acquires the Union documents to complete her brother’s mission, and she places them on her brother’s body to make him look like a hero. The film capitalized on the popular Civil War girl spy genre of the time, popularized by Gauntier. Leonard’s self-reliant heroine succeeded with at least one reviewer, who praised her but faulted the story. The picture was “not a convincing story in spite of its being very well-acted,” wrote the Moving Picture World (690). Gem fell into bankruptcy in late 1911 even before it could exhibit The Defender of the Name, which was intended to be its inaugural release. The twenty-six negatives of films the company had shot but not released were, however, bought, and prints were distributed by the Rex Motion Picture Company (Mahar 63). The following year, Leonard and Taylor started another venture, the Monopol Film Company, this time using her notoriety to take advantage of the new interest in feature films. They played up her star attraction value in a press release picked up by Moving Picture World. Note that it is the star’s own company that is claiming to have offered her “the largest salary ever paid to a moving picture star (… ) $1,000 per week” (988). Bowser comments that although this number may have been inflated, the advertisement itself is important as a marker of the stage at which star publicity had arrived, publicly announcing the very salary inflation that Leonard’s former employer, the Biograph Company, most feared (1990, 118-119). Leonard and Taylor moved to California to start filming. They left Monopol in 1913, however, to form yet another independent effort, the Mar-Leon Corporation (Mahar 70). However, Mar-Leon ceased production the following year, and Marion Leonard’s name no longer appeared in the trade presses after the studio’s demise. In 1921, looking back to 1909, a Motion Picture Magazine article, asking “What Are They Doing Now?” doesn’t have an answer to the question, but remembers Marion Leonard as a “favorite,” along with Florence Lawrence, Florence Turner, Cleo Madison, and Flora Finch (32). Bibliography Bowser, Eileen. The Transformation of Cinema, 1907-1915. History of the American Cinema. Vol 2. New York: Charles Scribner’s Son, 1990. “The Defender of the Name.” Rev. Moving Picture World (24 Feb. 1912): 690. Gem Motion Picture Company Advertisement. Moving Picture World (25 Nov. 1911): 737. Handy, Truman B. “What Are They Doing Now?” Motion Picture Magazine vol. 22, no. 9 (Oct. 1921): 32-33, 91-93. Mahar, Karen Ward. Women Filmmakers in Early Hollywood. Baltimore: Johns Hopkins University Press, 2006. “Marion Leonard Joins Monopol Company.” Moving Picture World (7 Dec. 1912): 988. Filmography A. Archival Filmography: Extant Film Titles: 1. Marion Leonard as Actress At the Crossroads of Life. Dir.: Wallace McCutcheon, sc.: D.W. Griffith (American Mutoscope and Biograph Co. US 1908) cas.: Florence Auer, Marion Leonard, si, b&w, 16mm and 35mm. Archive: Library of Congress [USW], Museum of Modern Art [USM], EYE Filmmuseum [NLA], UC Berkeley Art Museum & Pacific Film Archive [USB]. An Awful Moment. Dir.: D.W. Griffith (American Mutoscope and Biograph Co. US 1908) cas.: George Gebhardt, Harry Solter, Linda Arvidson, Florence Lawrence, Mack Sennett, Marion Leonard, si, b&w, 35mm. Archive: Library of Congress [USW]. The Bandit’s Waterloo. The Outwitting of an Andalusian Brigand by a Pretty Senora. Dir.: D.W. Griffith (American Mutoscope and Biograph Co. US 1908) cas.: Marion Leonard, si, b&w, 16mm. Archive: Library of Congress [USW], Academy Film Archive [USF]. The Christmas Burglars. Dir.: D.W. Griffith (American Mutoscope and Biograph Co. US 1908) cas.: Florence Lawrence, Marion Leonard, si, b&w, 16mm, 35mm. Archive: Library of Congress [USW]. The Fatal Hour. Dir.: D.W. Griffith (American Mutoscope and Biograph Co. US 1908) cas.: George Gebhardt, Harry Solter, Linda Arvidson, Mack Sennett, Marion Leonard, si, b&w. Archive: Library of Congress [USW], George Eastman Museum [USR]. Father Gets in the Game. Dir.: D.W. Griffith (American Mutoscope and Biograph Co. US 1908) cas.: Mack Sennett, Harry Solter, Florence Lawrence, Marion Leonard, si, b&w. Archive: Library of Congress [USW], Cineteca del Friuli [ITG]. Feud and the Turkey. Dir.: D.W. Griffith (American Mutoscope and Biograph Co. US 1908) Cas.: Marion Leonard, Mack Sennett, si, b&w, 16mm. Archive: Library of Congress [USW]. The Greaser’s Gauntlet. Dir.: D.W. Griffith (American Mutoscope and Biograph Co. US 1908) cas.: Marion Leonard, si, b&w, 16mm. Archive: Library of Congress [USW], Museum of Modern Art [USM]. The Helping Hand. Dir.: D.W. Griffith (American Mutoscope and Biograph Co. US 1908) cas.: Flora Finch, George Gebhardt, Linda Arvidson, Tom Moore, Marion Leonard, si, b&w. Archive: Library of Congress [USW]. The Tavern-Keeper’s Daughter. Dir.: D.W. Griffith (American Mutoscope and Biograph Co. US 1908) cas.: Florence Auer, Marion Leonard, si, b&w, 16mm. Archive: Library of Congress [USW]. The Test of Friendship. Dir.: D.W. Griffith (American Mutoscope and Biograph Co. US 1908) cas.: Arthur Johnson, Florence Lawrence, Jeanie Macpherson, Mack Sennett, Linda Arvidson, Marion Leonard, si, b&w. Archive: Library of Congress [USW], Deutsche Kinemathek [DEK]. Where Breakers Roar. Dir.: D.W. Griffith (American Mutoscope and Biograph Co. US 1908) cas.: Arthur Johnson, Florence Lawrence, Charles Inslee, Mack Sennett, Linda Arvidson, Marion Leonard, si, b&w, 35mm. Archive: Library of Congress [USW]. And a Little Child Shall Lead Them. Dir.: D.W. Griffith (American Mutoscope and Biograph Co. US 1909) cas.: Marion Leonard, Mack Sennett, si, b&w, 16mm, 35mm. Archive: Library of Congress [USW], Museum of Modern Art [USM], Academy Film Archive [USF]. At the Altar. Dir.: D.W. Griffith (American Mutoscope and Biograph Co. US 1909) cas.: Florence Lawrence, Marion Leonard, Mack Sennett, si, b&w, 16mm. Archive: Library of Congress [USW], Museum of Modern Art [USM]. The Broken Locket. Dir.: D.W. Griffith (American Mutoscope and Biograph Co. US 1909) cas.: Mary Pickford, Kate Bruce, Henry B. Wathall, Robert Harron, Marion Leonard, si, b&w, 35mm. Archive: Library of Congress [USW]. The Brahma Diamond. Dir.: D.W. Griffith (American Mutoscope and Biograph Co. US 1909) cas.: Harry Solter, Florence Lawrence, George Gebhardt, Charles Inslee, Marion Leonard, si, b&w, 35mm. Archive: Library of Congress [USW]. A Burglar’s Mistake. Dir.: D.W. Griffith (American Mutoscope and Biograph Co. US 1909) cas.: Marion Leonard, Owen Moore, Mack Sennett, si, b&w, 16mm and 35mm.
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  • Appendix: Partial Filmographies for Lucile and Peggy Hamilton Adams

    Appendix: Partial Filmographies for Lucile and Peggy Hamilton Adams

    Appendix: Partial Filmographies for Lucile and Peggy Hamilton Adams The following is a list of films directly related to my research for this book. There is a more extensive list for Lucile in Randy Bryan Bigham, Lucile: Her Life by Design (San Francisco and Dallas: MacEvie Press Group, 2012). Lucile, Lady Duff Gordon The American Princess (Kalem, 1913, dir. Marshall Neilan) Our Mutual Girl (Mutual, 1914) serial, visit to Lucile’s dress shop in two episodes The Perils of Pauline (Pathé, 1914, dir. Louis Gasnier), serial The Theft of the Crown Jewels (Kalem, 1914) The High Road (Rolfe Photoplays, 1915, dir. John Noble) The Spendthrift (George Kleine, 1915, dir. Walter Edwin), one scene shot in Lucile’s dress shop and her models Hebe White, Phyllis, and Dolores all appear Gloria’s Romance (George Klein, 1916, dir. Colin Campbell), serial The Misleading Lady (Essanay Film Mfg. Corp., 1916, dir. Arthur Berthelet) Rebecca of Sunnybrook Farm (Mary Pickford Film Corp., 1917, dir. Marshall Neilan) The Rise of Susan (World Film Corp., 1916, dir. S.E.V. Taylor), serial The Strange Case of Mary Page (Essanay Film Manufacturing Company, 1916, dir. J. Charles Haydon), serial The Whirl of Life (Cort Film Corporation, 1915, dir. Oliver D. Bailey) Martha’s Vindication (Fine Arts Film Company, 1916, dir. Chester M. Franklin, Sydney Franklin) The High Cost of Living (J.R. Bray Studios, 1916, dir. Ashley Miller) Patria (International Film Service Company, 1916–17, dir. Jacques Jaccard), dressed Irene Castle The Little American (Mary Pickford Company, 1917, dir. Cecil B. DeMille) Rebecca of Sunnybrook Farm (Mary Pickford Company, 1917, dir.